A New Year
The new year began, as the world fell into a state of unprecedented calm. And the farmer dropped his sickle and froze, witnessing a spectacle overwhelming in its common majesty. The sky was the brightest of blues, unblemished by cloud, the fields stretching before him were as the purest gold and without shadow. The wheat was plentiful and the hive ran with a honey rivaling the gold of the fields. Beyond, the streams were bright and clear as if poured from a crystals infinite center.
The children ceased their play and stood in baffled silence as a host of luminous balloons, wider than great ships, hovered, dipped as if in greeting, then ascended deep into that same blue.
Bowls of bread and fish and fruit materialized in the hands of the hungry. The sun drew the water from raging flood, relieving the saturated earth. The rain satiated drought and the desert flourished. Rivers teamed with fish, pink and plentiful. And the lame ran, the blind spun in a new radiance, and the sick rose refreshed.
The healing worm rose from the clay of creation and the tongue of every living thing brought forth understanding. And laughter rang out and the grieving were comforted. Bells of silver chimed and all bowed their heads, giving thanks. And rainbows circled the earth like the rings of Saturn, and all dipped their fingers into its formlessness and knew that it was good.
Listen to Patti Smith reading the forward from The One Inside.
The first work of long fiction from the Pulitzer Prize-winning playwright Sam Shepard — a tour de force of memory, mystery, death, and life.
This searing, extraordinarily evocative narrative opens with a man in his house at dawn, surrounded by aspens, coyotes cackling in the distance as he quietly navigates the distance between present and past. More and more, memory is overtaking him: in his mind he sees himself in a movie-set trailer, his young face staring back at him in a mirror surrounded by light bulbs. In his dreams and in visions he sees his late father—sometimes in miniature, sometimes flying planes, sometimes at war. By turns, he sees the bygone America of his childhood: the farmland and the feedlots, the railyards and the diners—and, most hauntingly, his father's young girlfriend, with whom he also became involved, setting into motion a tragedy that has stayed with him. His complex interiority is filtered through views of mountains and deserts as he drives across the country, propelled by jazz, benzedrine, rock and roll, and a restlessness born out of exile. The rhythms of theater, the language of poetry, and a flinty humor combine in this stunning meditation on the nature of experience, at once celebratory, surreal, poignant, and unforgettable.